The Humanity of Alice by Heart
Image Credit: The Arts Center of Cannon County
Alice by Heart has been catching the world by storm over the past few years. I know of over a dozen productions being done across several states right now and the first Spanish version opened in Argentina in late 2024. I was very excited to finally get to see a production of it for myself and The Arts Center of Cannon County’s version did not disappoint.
Set in London 1941 during the Blitz, the young and vibrant cast telling this story had too many star players to mention them all but I will do my best to highlight several. Logan Stewart as the Mad Hatter immediately caught my attention in the show’s opening number. Despite the full ensemble being onstage, I could not help but follow his every step as he so aptly portrayed a man suffering from the PTSD of war. From his physicality choices to his flashback moments and compassion towards others in the present, Stewart continued to weave this powerful narrative throughout the show with brilliance. We found a true star in Rachel Oppmann’s Queen of Hearts/Red Cross Nurse. She was a force to be reckoned with from beginning to end. I was beyond impressed by her vocal consistency along with her ability to give layers to the rage of the queen. Chip Ashley keenly portrayed the King of Hearts and Jabberwock as different as night and day switching from adorably ignorant to intensely foreboding with great ease.
Credit: Ashleigh Newnes Photography
Caroline Humphries as Tabatha gave off Jo March vibes to me throughout presenting a Cheshire Cat that went against the grain of the others in the bunker. I enjoyed Music Director, Nick True’s approach to Sheik’s score as it brought a very singer/songwriter vibe to the show. This provided the appropriate atmosphere of intimacy that Hart’s vocal arrangements call for. Alana Shirk’s Alice and Wil Hansen’s Alfred had great chemistry throughout. Shirk did a lovely job showing the juxtaposition between childhood and coming of age, an approach that really became apparent as she fiercely fought back against the system in “I’ve Shrunk Enough”. Hansen’s versatile acting chops really shined through when he became the March Hare in "Sick to Death of Alice-ness" bringing a great physicality to the character. His energy was equally matched in that scene by Tobi Yandle’s Dormouse. Some other standouts that rounded out the ensemble included Paige Lovell who was terrifying (in the best way possible) as the hardened Duchess and Hampton Phillips as the Mock Turtle who brought the comedic relief of the evening. His quirkiness brought a smile to my face as he couldn’t decide whether or not to share his story.
This cast was definitely filled with powerful singers. I think what really makes theatre unique in Nashville and the surrounding areas is the singers that are attracted to audition for modern shows like this one. They have the ability to deliver a fluidity of sound to scores that demand a more edgy vocal prowess. We were definitely given a feast for the ears with voices like Rachel Harlan as Caterpillar #1. The consistency of her chest voice belt in “Chillin’ the Regrets” almost shook the floor. Anna Breland, Caterpillar #2, added nicely to this moment with her interwoven harmonies. Sophie True as the Queen of Diamonds had a show stopping moment during her effortless riff off in “Isn’t It a Trial”. In fact, I would love to see her play the role of Jane Seymour in Six someday just to hear her sing “Heart of Stone” because she was clearly born to sing that song!
What truly made this show for me was the transformative choreography done by Thomas Holt Kirkindoll. Even when there were a few audio balance issues making it difficult to hear some of the lyrics, the choreography never missed a beat in telling the story. From the heart wrenching of paired off waltzing during “Those Long Eyes”, the enchanting duet between Alice and Alfred, to the fluid shifting that happens to create the threatening Jabberwock out of crutches held by the ensemble in "Brillig Braelig" my breath was taken away. Every audience member was treated to different aspects of the various tableaus of this show depending on where they were sitting. I wish that I had the time to see this production again just so that I could sit in a different section of the audience each time to experience the magic from new angles. I have not seen this kind of fluidity amongst an ensemble since Deaf West’s Broadway production of Spring Awakening. This is a testament to the kind environment I would be willing to bet that co-directors Lindsey and Keith Wortham along with the rest of the creative team have so obviously provided their cast with throughout the rehearsal process. The result is an ensemble that supports individual moments but is also so in touch with each other that they have the ability to move as one when needed.
Credit: Ashleigh Newnes Photography
Veronica Roeder’s costume design was delightfully whimsical adding to the in-between of make believe and the real world. I particularly enjoyed the evolution of the Queen of Hearts’ dress. The set design, done by Rachel Oppman, was very wisely put together allowing for some varying levels and a good use of the smaller performance space within the 222-seat thrust stage of The Wilma Adams Theater. A special moment that unexpectedly tapped into my own emotion was Wortham’s blocking of the shadow effect that occurred during “Some Things Fall Away”. At first it appeared to be a shadow produced by the Cheshire Cat but then we quickly saw the silhouette split into two, telling a simultaneous flashback story of mother and child. I also thought the use of flashlights as spotlights by some of the actors throughout the performance was clever. I purposely did not read the Director’s Note until after the show was over because I like to experience things in the moment rather than have a pre-concieved idea of what to expect. I have to say that Lindsey Wortham brilliantly achieved her goal of the scenes serving “as a metaphor for Alice’s journey through the seven stages of grief—Shock, Denial, Anger, Bargaining, Depression, Testing, and Acceptance.” This type of approach truly brought out the raw humanity of the show’s content and made it easy to see why this musical has brought about deserved success for Sater, Nelson, and Sheik.
Credit: Ashleigh Newnes Photography
I would highly recommend this show for ages 13 and up as it does have some more mature content given the setting of the show. If you are a fan of Alice in Wonderland, you will definitely pick up on some nods to the original 1865 Lewis Carroll novel, Through the Looking Glass, as well as the 1951 animated film version. This production deserves to sell out the remainder of their run which goes through to February 8th. For more info, go to: www.artscenterofcc.com